Drama within Drama: Shakespeare's Sense of His Art in King Lear, The Winter's Tale, and the Tempest. Robert Egan

1977 ◽  
Vol 74 (4) ◽  
pp. 411-414
Author(s):  
Richard P. Wheeler
Keyword(s):  
King Lear ◽  
The Winter's Tale ◽  
Winter's Tale ◽  
The Tempest

Feminist Shakespeares: Adapting Shakespeare for a Modern Audience in the Hogarth Shakespeare Project

2018 ◽  
Author(s):  
Colleen Etman
Keyword(s):  
Margaret Atwood ◽  
Female Characters ◽  
Adaptation Theory ◽  
Contemporary Culture ◽  
The Winter's Tale ◽  
Winter's Tale ◽  
Female Authors ◽  
The Tempest ◽  
And Gender ◽  
Female Characterization

The Hogarth Shakespeare Project presents a way to view Shakespeare’s plays through a different lens. These books allow for a feminist reading of Shakespeare, looking at some of Shakespeare’s ill-treated female characters to construct a new idea of female characterization. Three of the plays adapted, The Winter’s Tale, The Tempest, and The Taming of the Shrew, were adapted by female authors. By investigating how these plays are being adapted for a more contemporary audience, with modern conceptions of feminism and gender roles, we can gain insight as to how these concepts have changed since Shakespeare’s time. By looking at these modern adaptations, we can interrogate how modern audiences as a whole conceptualize and, potentially, idealize Shakespeare, as well as understanding the progression of treatment of women in contemporary culture since Shakespeare’s time. The novels addressed in this project are The Gap of Time by Jeannette Winterson, Hag-Seed by Margaret Atwood, and Vinegar Girl by Anne Tyler. The project concludes that, of the three, Vinegar Girl does the most effective job addressing the problematic aspects of its adapted play in a new way, distinguishing it from previous adaptations of The Taming of the Shrew. This project also investigates the role that adaptation theory plays in addressing Shakespeare adaptations, particularly the Hogarth Shakespeare Project.

‘Time is chasing us’

2018 ◽  
Author(s):  
Charlotte Scott
Keyword(s):  
Central Question ◽  
The Winter's Tale ◽  
Winter's Tale ◽  
The Tempest

Moving into the late plays or romances, Chapter 5 engages the book’s central question: why are children so important and so unique to Shakespeare’s dramatic imagination? Focusing on the extraordinary collection of plays, including The Winter’s Tale, The Tempest, and Pericles, this chapter considers the formative impact of the child on Shakespeare’s stage. Thinking about memory and grief, loss and childhood, the section on The Winter’s Tale attends to the child as a young body but also as an adult’s memory of its former self. The focus in TheTempest is on servitude and teaching and the narratives of love through which parents justify power. In the section on Pericles, the chapter studies anxieties about incest and desire, redemption and hope. In all the plays under discussion here, the child becomes a unique and staggeringly assertive character of redemption as well as loss.

Shakespeare on the Stage in Restoration Dublin

PMLA ◽  
1941 ◽  
Vol 56 (2) ◽  
pp. 369-378 ◽  
Author(s):  
R. C. Bald
Keyword(s):  
King Lear ◽  
The Other ◽  
Henry Viii ◽  
The Winter's Tale ◽  
Twelfth Night ◽  
Winter's Tale ◽  
Original Volume ◽  
Timon Of Athens

The Folger Shakespeare Library possesses a number of separate plays, all from the Shakespearian Third Folio, and all bearing unmistakable signs of theatrical annotation. They were acquired by Mr. Folger from a variety of sources: the majority were bought from a bookseller in Munich, one was purchased in London, and another came with the Warwick Castle collection of Shakespeariana. There are nine plays in all: The Comedy of Errors, The Merry Wives of Windsor, Twelfth Night, The Winter's Tale, Henry VIII, Timon of Athens, Macbeth, King Lear, and Othello, but three of them—The Merry Wives, Macbeth, and Othello—are imperfect. It soon became clear that they were all from the same original volume, which, apparently, had belonged to Halliwell-Phillipps and was dismembered by him. The bindings of the separate plays—half leather, with boards of marbled paper or purplish-brown cloth—are obviously all the work of one binder, and are similar to the bindings of other books which have passed through Halliwell-Phillipps's hands. In addition, his handwriting is to be found in six of them: in The Merry Wives and Macbeth there is an inscription on one of the preliminary flyleaves, and in the other four there is a mere “C. and P.” on a fly-leaf at the end of the book.

Sign in / Sign up

Export Citation Format

Share Document